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s t a t i o n i ii y 

Volume 5 

Number 2 




Eilen G.K. Rubin 
Scarsdale. New York 

Ed Hutchins does not have writers block. In fact, it 
would probably take tiiree life-tunes for him to realize all 
his ideas as books. I met with Hutchins in his shared- 
studio in the basement of the Visual Arts Building of 
SUNY -Purchase, where he is working on his Master's 
Degree in Fine Arts. The dark, institutional, graffiti- 
covered, cinder-block construction belies the luminous 
creativity going on inside, in an effort to describe the 
proposed dozen books which comprise his thesis. Ed 
opened his metal storage closet and much like Fibber 
McGee's. books tumbled from inside. After spending an 
afternoon with Ed. I observed his mind to be like his 
closet rrrepressibry full of ideas. 

One of four children raised in Tucson Arizona, the 48 
year old Hutchins traces his artistic roots to his great- 
grandfather, and grandfather who chronicled the settling 
of the West as photographers. Like Ed, they were 
prodigious artists producing a quarter of a million 
negatives which have taken 23 years to catalogue. A 
1973 graduate of 
the University 
of Arizona with 
an M.S. degree in 
Service and a 
minor in the 
Arts. Ed credits 

himself with a very "■™"™"^^- ' -^BS 

"checkered business career " In the tradihori of "tinker, 
tailor, soldier, spy." Ed has worked at a laundry list of 
jobs and professions, from clown and soda jerk, to tour 
guide and art director. All. he claims, have made an 
impression on his work as a book artist. Starting as a 
hobby in the early 1960"s. Ed began making editioned 
books He admits early efforts were "pretty rough.'" But 
it was not until the early '80's, after taking classes at the 
Center for Book Arts in New York, that he decided to 
create books full-time. Living on the proceeds from his 
house sale, in a rented garret without phone or doorbell. 
Ed "just made books " "It was the most wonderful time!" 
"Toying With Books. Fne Use of Force and Motion 
m Delivering the Message in a Book Format." is the 

scholarly title of Hutchins' master's thesis. One of the 
several books in it will be limed Autobiography- A 
timing mechanism will move wheels, which turn pages, 
and present Ed's life story at a set pace. Another, The 
Storyteller, is much like an arcade game. At the top of a 
wooden box, a marble is put in the "storyteller's" mouth. 
Making its way down a cascade of ramps, the marble sets 
off 'bells and whistles' and activates a series of word- 
wheels. With even - play of the marble, new stories are 
created. Other books which may be included. (Ed was 
reluctant to give me a list lest he change his plans) are 
Flying Fish, Hicorporating mobiles hanging from cut-outs 
in several pages, and The Original Revised Edition. 
where pull-tabs change words to become ones more 
"politically correct" Another model was for a "rotating 
Hexagon" whose colors and shapes change when 
properly-placed fingers move. Still another project he 
demonstrated is called. Twisted. Four sheets of paper 
create the movable pages and its own box. By twisting 
the covers, the pages advance. The text deals with the 
attempts of organizations to get individuals to conform to 
set norms. Besides these creations, Ed also showed me 
numerous "bonus" book projects he was working on. We 
were less than one hour into this interview and I was 
already overwhelmed and agape' Who wouldn't be? Each 
model was snore unique and complex than the next! 

To Ed Hutchins. "Everyone is a maker of books 
because everyone has a story to tell." We explored at 
length what is and what is not a book. His broad 
definition, with the emphasis on broad, is "a structure for 
storing and sharing information." He recalled. "Someone 
said a refrigerator could then be called a book." To which 
he laughingly responded. "What a great idea!" In feet, 
one of HutcMns' favorite paper engineers is Ruth Tildes. 

Marline's Gardes, 199c : 

The Movable Book Society 

Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $15.00. For more 
information contact Ann Montanaro. The Movable Book 
Society. P.O. Box 1 1654, New Brunswick. New Jersey 

Daytime telephone: 908-445-5896 
Evening telephone: 908-247-6071 
Fax: 908-846-7928 

The deadline for the next issue is August 15. 

Continued from pag* 1 

Her What 's in the fridge? is a good example of his 
definition of a book. Shaped like a refrigerator, it is filled 
with the A-to-Z of food items. Ed continued. "'Books 
need not have text at all." The very act of turning the 
pages may provoke ideas and narration. Because he 
thinks of his art in "terms of books." Ed considers 
himself more a book artist than a paper engineer. A 
paper engineer, he says, may not necessarily be interested 
in books as the end result. After seeing several thesis 
proposals and knowing his other works, it was very clear 
to this observer that Hutchins pushes-the-envelope in 
defining what is a book. 

Travelog, 1995 

"Ignorance!" Ed unhesitatingly bellows at my 
question about who is the enemy against whom he wages 
'war". (Picasso said. "Painting is an instrument for ... 
war against the enemy") Despite his seemingly helter- 
skelter system. Ed's war against intolerance, narrow- 
mindedness, and conformm- is quite focused. I was 
privileged to see his work. Moving the Obstinate, which 
he had in the workshop. This opus, done in an edition of 
six. was shown at the Smithsonian's exhibit. "Science 
and the Artist's Book" in 1995-1996 .* Based on a 1590 

book by Domenico Fontana who describes moving a 
300-ton obelisk to the Vatican. Ed realized during bis 
research that changing someone's mind may be a more 
daunting task than this engineering feat. This unusual 
book comments on bigotry, fear, and religious 
intolerance. Constance Woo was the curator of "Flights 
of Fancy-The Books of Edward H. Hutchins," a 
retrospective show held this past Fall at the Resnick 
Gallery on the Brooklyn Campus of the Long Island 
University. She described Ed's books as being filled with 
"a passionate commitment to humane values and mores " 

I asked Ed if his message was making 
in-roads "We (artists) can't be 
responsible [for] whether a 
message sinks in. But I 
think it's important to 
let people know 
we stand " 

his books 

to The Rabbit Report 

communicate the message has been a problem for this 
artist, who. up until now, has hand-cut his own rubber 
stamps. Much of Hutchins" work has been printed with 
stamps and stencils. A key reason for coming to SUNY 
is to learn off-set printing in order to produce larger 
editions of his work. Ed chooses to sell his own books, 
relishing the immediacy of a collector's reacuon. There 
are times he will not sell to someone he thinks doesn't 
appreciate his w ork-for example, the miniature collector 
who w anted any book less than 3 inches, no matter the 
qualm or content. Hutchins has "resigned"' himself to 
having his work referred to as "whimsical.'" probably 
labeled so because of then - bright colors and off-beat 
formats. But anyone who has seen his books and 
appreciates their message, will agree that "whimsical" 
applies only to their presentation. 

While not owning a large collection of pop-up and 
movable books, Hutchms is not without his favorites. 
Julian Wehr tops his list because of the multiple 
movements achieved with a single pull-tab. 

Kubasta is also a favorite and Ed is happy to have been 
able acquire many different titles on the streets of New 
York for reasonable prices I was happy to learn of 
another Czech artist he favors, for she is a favorite of 
mine. Kveta Pacovska. now working in Prague. Ed could 
not believe Robert Sabuda would top his Christmas 
Alphabet until he saw 7"/!? Twelve Days of Christinas*. 
Like an insider giving a hot tip. Ed urges. "'Keep an eye 
out for David Whittredge. the paper engineer." Those 
who met David at the Movable Book Society Convention 
last May were astounded by his innovative and delightful 

The world is starting to sit-up and take notice of Ed 
Hutchins" awesome work The Mystery of the Magic 
Box. a collaborative effort, was the exhibit catalogue for 
the Anchorage Museum of History and Art. In 1996. the 
American Association of Museums awarded it Honorable 
Mention in the "Exhibition Catalogues" division. In 
1999. Harvard University's Houghton Library of Rare 
Books, which owns the largest collection of Hutchins' 
work, will produce a 10-year review of Editions. 
Hutchins' company The Library at UCLA is going to 
exhibit Ed's master's thesis Without regard for the 
additional pressure. Ed has moved up the original exhibit 
date to May. 1998 so that those attending the next 
Movable Book Society's Convention in LA may see it. 
He plans to have video demonstrations of this highly 
animated array of books. 

Ponng over Hutchins' books, he was always careful to 
pomt out the man}' collaborations with designers, 
printers, and teachers. Throughout my visit, in the 
lunchroom, his studio, and the hallways. Ed was 
continually approached by fellow students. In his 
characteristic avuncular way. they were all warmly 
greeted. Introduced as an interviewer, they were unaware 
Ed and I were previously acquainted Each took me 
aside to make sure I knew Ed Hutchins was the most 
generous, creative, and canng person they had ever met. 
Reviewing this artist's work and privileged to witness his 
emerging ideas, it was abundantly clear that ingenuity 
overflows from his fertile mind, but the meaning of his 
work, and his life, pours directly from his heart. 

Website for pop-ups:\vare/popups.htm. This site. 
Tom's Pop-up Menu, includes Ann Montanaro's 
Rutgers exhibit, a history of pop-ups. and the 
Smithsonian Exhibit and other related information. 

** Several of Ed Hutchins' books may be seen in Cover 
to cover. Creative techniques for making beautiful 
books, journals & albums. Shereen LaPlanrz. Lark 
Books (1995). ISBN0-93 _ 274-81-x 

Pop-Up Books with Games 

Anne D Williams 
Lewiston. Maine 

Well, it's time to confess. I have a second collection 
that competes with jigsaw puzzles for my attention. Just 
over a decade ago. when Halley's Comet w as all the rage, 
a friend gave me a copy of the Halley's Comet pop-up 
book I opened the cover and on the first page, the comet 
rose off the page and streaked past the moving earth 
Another two-page spread featured a six-inch-long 
standing cardboard telescope through which the reader 
could view slides of the comet's progress through the 
heavens. I was entranced, bow led over by the marvels of 
the ingenious and creative paper engineering 

Like many collections, my acquisitions of pop-up 
books started out slowly. On occasion at the bookstore 
I would see an intriguing pop-up book remaindered for a 
dollar or two. and I'd think. "Why not?" For several 
years. I spent less than $4.98 per book. But then I 
realized that some of the most desirable books never 
made it to the remainder tables. By the late eighties I was 
mainlining in the children's section of the bookstore, 
checking out new titles as soon as they appeared. 

And recently. I've bought a few of the older titles at 
flea markets and shows — not too many though, they can 
be a lot pricier than jigsaw puzzles or games 

Although all kinds of subjects show up m pop-up 
form, one of my favorite genres is pop-up books with 
games. (Don't confuse these with games that have pop- 
ups. which will have to be the subject of a different 
article.) This article describes the pop-up books that will 
appeal most to game collectors. 

Helen Andrews taught me that a book could also be a 
game at the American Game Collectors convention in 
Burlington. Vermont in 1992 For show-and-tell she 
displayed the Harvard Community Health Plan's Annual 
Report. It featured a spinner in the cover and. bound into 
the middle of the book, a fold-out game called "Check 
Up: The American Health-Care Game (anyone can play 
but few can win)." This track game used lift-up flaps to 
hide rewards and penalties. For example, one space says 
"Your employer offers comprehensive health coverage." 
Good news, seemingly, but under the flap is the 
depressing truth, "Your payroll deduction goes up by 
25%. go back 6 spaces." 

Shortly thereafter I found a used copy of Ron Van der 
Meer's The world's first exer pop-up games book 
(London: Heinemann. 1982). the pioneer in this genre. 
Each of the four double-page spreads contains a different 
game. "The Enchanted Forest" is the simplest, a track 
game with a pop-up tower in the middle, and with 
instructions hidden under flaps "Flip the Button" and 
"The Golden Goose" use pull tab mechanisms to propel 
buttons or coins through into three-dimensional targets. 
"Dunk the Clown" is another skill game, involving a pop- 
up shdc and a dunk tank. 

1994 was a good year for pop-up game books with the 
publication of both Cowboy Mickey's pop-up book of 
games (New York: Disney Press) and Golf-o-rama 
(New York: Hyperion Books) The first has "4 rootin' 
tootin' wild west games:" one track game, two flipping 
games, and one that works a bit like a slot machine. 
Mickey and Minnie Mouse. Donald and Daisy Duck, and 
Goofy are the stars who usually prevail against Ornery 
Pete in this book. 

Golf-o-rama is all action, featuring a 9-hole pop-up 
mmiature golf course, with foam balls, cardboard clubs. 
and a pad of score cards. The names of the holes ("A 
Watery Grave." "The Curse of King Putt." "Walk the 
Plank." etc.) suggest the hazards Three-dimensional 
snakes, crocodiles, and swamp creatures swallow the ball 
when it goes the wrong way. And of course there is the 
traditional windmill with revolving blades that block the 
passage to the cup. The designers of this book added the 
clever device of velcro coins to hold down the pages and 
keep the playing surface stable 

The Lion King puzzle pop-up game book (New York: 
Disney Press. 1995) was the top item on my 1995 
Christmas wish list. This book fits into both my 
collections. First you have to put the gameboard 
together, using the large folded puzzle pieces tucked into 
the various pages of the book. When the pieces are 
unfolded and assembled jungle and desert scenery pops 
up. The book also contains penalty and reward cards. 
and the fold-up cardboard die needed to play the game 

The book of pop-up board games by David West and 
Brian Lee (New York: Shooting Star Press. 1996) is the 
most recent addition to my mini-collection of pop-up 
game books. (As far as I know, this West & Lee are 
unrelated to the famous 1870s game company of that 
name in Worcester, Mass.) The attractive graphics and 
large pop-ups in the center of each spread offset the 
inherent simplicity of the four track games. "Pirate 
Treasure" is the most dramatic, with a large pirate ship 
sailing over the centerfold. 

Not exactly board games, but certainly related, and of 
interest to many game collectors, are four other books: 

Dimensional mazes, an entirely new May of losing 
yourself in a book by David Pelham (New York: Viking 
Penguin. 1989). Movable flaps multiply the paths 
through the pop-up mazes. 

The pop-up book of magic tricks by Ron Van der 
Meer (New York: Viking. 1983). Fourteen tricks for the 
aspiring magician include the "Vanishing Coin" that 
disappears into the pop-up hat. (Magicians can get rich 
this way. if the audience supplies the money.) 

Eye magic: Fantastic optical illusions by Sarah 
Hewetson and Phil Jacobs (New York: Western 
Publishing. 1994). A working kaleidescope and zoetrope 
add to the other illusions. 

Puzzle power! Multidimensional codes, illusions, 
numbers, and brainteasers by David Hawcock and 
Patrick MacAUister (Boston: Little Brown. 1994). 
Mathematics, optics, and logic form the basis for most of 
the puzzles in this book. 

Several books contain movable parts involving games 
but are not true pop-ups For example, readers can find 
both a mini-gameboard ("A Race to the North Pole") and 
a 4-piece jigsaw puzzle of Santa in the pockets of 
Santa's Christmas ride, a storybook with >-eal presents 
by Louise Berts Egan and Robyn Officer Kansas City: 
Andrews & McMeeL 1993). There are also many books, 
both old and new. with jigsaw puzzles incorporated into 
them, but that's another article too 

Editor's Note. Anne Williams, a Movable Book Society 
member, collects jigsaw puzzles and has written 
extensively about them. She also serves as .Archivist of 
the American Game Collectors Association and 
originally wrote this article for then newsletter. The 
AGCA welcomes all who are interested in games, 
puzzles, and related indoor playthings. Calendar year 
membership is $25 for U.S. and Canadian addresses. $35 
elsewhere. For more information write to AGCA. P.O. 
Box 44. Dresher. PA 19025. 

Artist Brian Wildsmith interviews himself 

O. Your first pop-up was Noah's Ark, and now you 
follow it with The creation. Is there very much 
difference in creating a picture book (a "flat" as the 
trade calls it) to creating a pop-up? 

A. Yes there is. Of course, the essential difference is that 
a pop-up has to be conceived in volume; any volumetric 
shapes have to be made to fold flat when the book is 
closed. Many pop-ups merely have a flat surface, which 
rises upright when opening the book. This is a simplistic 
approach and doesn't utilize the full potential of what can 
be achieved. 

O. How do you begin the process? 

A WelL as a child once said. "I think and then I put a line 
around it." Once the image is firmfy in my mind I make 
a rough model. This is then sent to Intervisual Books in 
Santa Monica. California. They have wonderful talented 
paper engineers there who work out how to make the 
image fold. Each shape is dissected into its separate 
pieces and then sent to me to paint. 

O. A picture book has so many more pages to it than a 
pop-up, which is usually five or six spreads. Why? 

A. Simple economics always rule a product. In 
comparison to a pop-up. a picture book is an 
uncomplicated manufacturing operation. ALL the 
pictures are printed on one or two large format sheets of 
paper, folded and then bound ALL operations are carried 
out by machine. A pop-up is printed on thm card (again 
two sheets normally) but then all the pieces that are 
effectively to pop-up have to be cut out. assembled and 
glued mto place ("glue points" they're called) by hand. 

It was then painted in various colors and adorned with 
gold jewels. Sadly, as with so many great masterpieces, 
it's been destroyed but it must have been inspiring - 
sorry. I'm digressing. 

Q. How do you begin? What was the starting point? 

A. In a subject like the creation you have to decide just 
where you stand on the issue, i.e Genesis or the Big 
Bang theory. I came to the conclusion that there wasn't a 
great deal between the two concepts, the main difference 
being Time (the concept of Time)/ Genesis: God created 
the world in six days. i.e. 6 x 24 hours. If you remove the 
time element from Genesis and make a day = millions of 
years, where s the difference? God = what? - a super 
power that made or caused the Big Bang, sending matter 
to swirl and form mto the infinite that with time became 
the universe. 

Of that same super power, or God as we conceive of 
Him. the Bible says God made man in his own image and 
our imagery of God is as we are. We need images we can 
relate to. It does help us to come to terms with an infinite 
so vast that it's quite beyond comprehension. 

Q. So you walked through the Gates of Genesis 
towards the Garden of Eden? 

A. Yes, I decided to make my image of God = Male- 
Female-Black-White-Colored-Onenlal. making a 
cruciform shape standing upright on a panorama of flat 
art representing the universe. 

O. I see that your cruciform God is holding up high in 
glory our lovely planet earth, whilst supporting stars 
and moons with the other hands. 

A. Yes, this was all necessary in order to give stability, 
and bind the structure to the base page, ensuring that the 
whole structure pops up correctly and doesn't collapse. 

O. How many glue points are there to The creation? 

A. There are 175 glue points in the final assembly, with 
over 100 different cut-outs to be glued mto place. When 
you think of it for the amount of intensive manual labor 
involved, pop-ups are amazingly cheap to buy and they 
can soon become collector's items. 

O. Spread two has a very complex base painting of 
many different shapes and colors. 

A. In this painting I wanted to convey the mystery and 
wonder of the first growth of plants, trees and foliage 
emerging from the deep blue of the third day. 

O. Creatively, what is it that attracts you to pop-ups? 

A. It's the combination of flat art and a kind of sculpture, 
which is painted sculpture. The ancient Greeks painted 
then sculptures. Pheidias carved a 36 foot high wonder, 
Pallas Athena, which stood m the center of the Parthenon. 

O. The pop-up flowers and revolving wheel on this 
spread - do they have significance other than being 
beautiful flowers ? 

A. The simple delicate pop-up flower is an expression of 
the purity of the world as it was then But if you turn the 
wheel, you'll expose the Datura flower, lovely, seductive 

but deadly if misused, a perfect symbol of temptation 
come into our world. The Datura flowers I drew from my 
wife's garden. I love the revolving wheel effect It was 
first used at the end of the nineteenth century by Ernest 
Nister of London in his enchanting Victorian revohing 

O. There are lots offish swimming around on the third 
spread. Are they accurate? 

A Yes. the shapes and forms arc all accurate but I've 
allowed myself a little artistic licence m the coloring. 
They were great fun to paint and really gave me very 
Utile trouble. However, the sky was a different matter. I 
wanted a very special sky. A sky as it would have been at 
the dawn of creation. How would it look'' One day 
looking over the mountains behind my house there 
appeared such a sky. God had sent us the best He had. It 
was so beautiful On spread three. I share it with you 

O. Do you like birds? 

A Indeed. I do Birds symbolize man's eternal search for 
freedom They sing and soar and bless our earth with 
their plumed beauty. They're lovely to draw and a joy to 

O. Did this spread pose any particular problems? 

A Originally I placed the pop-up tree trunk in the center 
of the double-spread but the paper engineers couldn't 
make it fold satisfactorily in that position and so they 
moved it out to center right hand page. Also I'd have 
liked the woodpecker to be able to tap the tree trunk, but 
for mechanics to do this it would have involved more 
cost. All vou need is brass, as mv father used to sav 

Q. Did they? 

A. Yes. thank heavens, if it hadn't been for the barman 
I'd have gone to the hospital and they would have 
pumped me full of anti-snake serum Ughh! ! ! 

O. Tell me about the final spread 

A. In the final spread. I placed annuals and man and 
woman in a stage setting ready to act out the opera of life 
m which we are all cast in supporting roles We've all lost 
our wonderful fertile Garden of Eden but our souls are 
forever searchina to find it once more 

O. Any problems with this page? 

A. The base page has a border of flowers, insects and 
small animals which surround a large area of flat green 
Just before I was ready to pack up all the work for 
delivery to OUP. I noticed I'd forgotten to color the 

O Yes. 

A. I dipped my brush into the water pot and Sod's 
Law came into instant operation. Two tin)' blobs of water 
fell on the bare green, discoloring where they fell. I 
simply couldn't get the green back to its earlier pristine 
stale. I just couldn't match the color. 

Q. So you had to repaint the whole area again ? 

A. I was going to but my little granddaughter looked at it 
and said. "Brian, why don't you paint two little beetles on 
the spoilt part." and so. that is why two little creatures are 
crawling across the page. Glory, love and admuation to 
ALL CHILDREN - our hope and our future. 

(J. The Garden of Eden - I looked closely but can't 
find the serpent 

A Darned right you can't Whilst working on this spread 
I went into the garden to water my tomatoes and was 
bitten on the ankle by an adder. Right. I thought, adder 
you have had it. There and then I decided I wasn t having 
a serpent in my Garden of Eden. The apple tree is there, 

O. Hhat happened to your ankle? 

A My foot and ankie swelled up to twice the normal size. 
The local barman told me not to worry as after eight days 
thev'd shrink back to normal. 

Reprinted with permission from Books for Keeps: The 
children s book magazine. November. 1995. 

The 2nd Conference of the 
Movable Book Society 

April 30 

May 1 and 2. 1998 

Los Anaeles. California 

Watch with Mother 

Theo Gielen 
The Netherlands 

Early in December. 1996 we saw this newspaper 

Wooh British TV-star Bought by Japanese Fan 

The British teddy bear and tv star Teddy Edward was 
sold for over for 34.000, pounds sterling to a Japanese 
collector who had previously bought the most expensive 
teddy bear in the world. 

Teddy Edward, who played the lead in several books 
and in BBC Television serial "Watch with Mother," sold 
at an auction at Christies in London for six times its 
estimated price. The bear earned a reputation in the fifties 
and sixties throughout the world and was for that reason 
called the most traveled bear in the world. 

Teddy Edward's new owner is the fifty-year old 
Yoshiluro Sekiguchi owner of a Japanese toy factory and 
of a teddy bear museum. He is a well known person in 
the world of teddy bears since two years ago he paid the 
record amount of 110.000 pounds sterling for Teddy 
GirL a rare red-brown teddy bear made by Steiff in 1 904 . 

What the journalist apparently didn't know was that 
Teddy Edward also starred in several pop-up books that 
accompanied this popular BBC program for tots, from 
1 950 onwards presented in those earh' days of television 
by the well-known Patricia Driscoll. 

Most of these pop-up books were published in the 
fifties by Publicity Products Ltd. from London; some of 
them were reprinted in the sixties but these reprints 
appear to have fewer pop-up pages: three instead of five 
m the earlier editions. The reprints also had a new cover 
design and are a bit smaller. The illustrations were by 
Monique Partridge, sometimes by Matvyn Wright. The 
paper engineering, though not credited, could be by Keith 
Moseley The stories were by Maria Bird and mostly 
dealt with Teddy Edward and his friends Andy Pandy, a 
little clown, and the rag doll Looby Loo. The whole was 
kind of a forerunner to Sesame Street. 

Some of the titles, none of them are in Ann 
Montanaro's bibliography, are: Watch with mother jump- 
up picture book. Andy Pandy and Rocky Red. Andy 
Pandy and the queen of hearts, and Andy Pandy s jump- 
up book. 

So. the "wooh 1 British TV star" also could have been 
a desirable ephemeral item for any collector of pop-up 
books. Just the price wasn't right! 

Book and Paper Happenings 

The Fifteenth Annual Conclave of The Miniature Book 
Society will take place in Bethlehem. Pennsylvania 
August 29 through September 1. 1997. Included in the 
activities will be a trip to Ephrata and Lancaster, PA, a 
reception given by the Curator of Special Collections of 
the Linderman library at Lehigh University, and a 
banquet and other activities on Monday. A Book Fair on 
Sunday, August 3 1 is open to the public from 10:30 to 
4:30 and participation is anticipated from about 40 small 
press and miniature book dealers from all over the US 
and Canada and probably a few from Europe. 

For information on membership in The Miniature 
Book Society or the Conclave, contact Jane Conneen. 
The Little Farm Press. 820 Andrews Road. Bath. 
Pennsylvania 18014. Phone:610-759-5326. Email: or check the web site at 
http ://www.membrane. com/books. 

The 1997 Summer Arts Institute at The Women's 
Studio Workshop offers a wide range of sessions on 
printmaking. papermaking. book arts, and other media 
The classes are two. five or seven days and are taught 
from July through October 

For more information write WSW. P.O. Box 489. 
Rosendale. New York 12472. Telephone: 914-658-9133. 
Fax: 914-658-9130 Email: or 
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New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or adver- 
tising. All titles include pop-ups unless otherwise 
identified. Titles reviewed in Robert Sabuda's "Movable 
Reviews" column are not included in this list. 

Baby. 0-7624-0020-x.Running Press. $4.95. 

Also: Good luck. 0-7624-0021-8. 

Happy ever after: A wedding poem . 0-7624-0021-8. 

I'm sorry. 0-7624-0030-7. 

Aries. 0-7624-0030-7. 

Aquarius. 0-7624-0035-8. 

Capricorn 0-7624-0028-5. 

Libra. 0-7624-0026-9. 

Pisces. 0-7624-0033-1. 

Sagittarius. 0-7624-0030-7. 

Scorpio. 0-7624-0030-7. 

Taurus. 0-7624-0032-3. 

Virgo. 0-7624-0030-7. 


3 9088 01629 2799 

Bottom of the ninth. Kingfisher Books. $8.95. 


Famih: A gift book with changing pictures. Andrews 
and McMeel. 3 '/ 2 x 3 3 A. 4 pages.$4.95. 


Also: The joy of reading. 0-8362-2677-1. 

Gardens of delight: A pop-up anthology of romantic 
verse and paper flowers. Abrams. $16.95. 


Happy birthda\> to you - a pop-up book. Little Pop-up 
Books Andrews & McMeel. $4.95. 0-8362-294-4. 

Also: Love love love - a pop-up book. 0-8362-253-3. 

Mommy, who does God love?: A pop-up lift-the-flap 
book By Mary Melcher. Little Simon. $10.95. 


Babies. Tinv Tome Pop-up Books. Andrews & McMeel. 
$3.95. 0-8362-952-5. 

Also: Cats. 0-8362-954-1. 

Golf. 0-8362-9526-8. 
Love. 0-8362-2957-6. 
Mothers. 0-8362-2958-4. 

Blue, blue and yellow, too: A color-learning pop-up. Bv 
Biruta Akerbergs Hansen. National Geographic Society 


Pop-up trucks. By Richard Fowler. Harcourt Brace. 

Richard Scarry's pop-up wheels. Little Simon. $8.99. 


Also: Richard Scarry's pop-up time. 0-6898-1077-6. 

Sharks. Andrews & McMeel. $14.95. 1-8884-303-0. 

IL's for my little nephew." 
(Cmon, your mask has cracked. 
They've seen you here before. 
It's time lo drop the act.) 
Politely, they humor you 
You've lost it, so they think 
Your lile's a downward spiral 
From shrinkwrap to a shrink 

And then they pop the question 
That's meant for all us kooks 
"Whad'ya call a collector 
Of movable books?" 
Surely you've encountered 
This crazy query loo 
You wish you had the answer 
You just don't have a clue 


Ajit C. ?m 

They've got a tag for Star Trek 
And every weird addiction 
But they don't have a term yet 
For this wonderful affliction 
My Webster's yields nothing 
More so my thesaurus 
It's high time we create J 
A proper label lor us. 

Let's start with mobilis 

A touch ol good old Latin 
Ol, course, there's biblion 
We've goi lo put thai in 
End it with philos 
Then put these together 
Now fin'lly there's a handle 
For lolks ol ihe same leather. 

Next time while I'm paying 
For the latest Sabuda 
"It's for me." I'll declare 
Proudly as 1 should-a 
And if the clerk asks me 
I'll brace mysell and smile 
"You can simply call me 
A mobibliophilc ."